{% extends "wooey/modals/base_modal.html" %} {% load i18n %} {% block modal_id %}modal-permalink{% endblock %} {% block modal_title %}{% trans "Permanant link to these results" %}{% endblock modal_title %} {% block modal_body %}
{% trans "You can share the following link to give open access to your results:" %}
{% trans "Anyone with this link will be able to view your data — only share with people you trust!" %}
{% endblock modal_body %}


7.62x39 stg-2000 how to - Extensions
the Sturm Gewiere 2003C - Survivalist Forum Jan 9, 2008 . The STG-2000-C is a remarkable semiautomatic-only recreation . I am still puckering at $200 7.62x39 prices and isn't 5.56 usually at least . http://www.survivalistboards.com/showthread.php?t=5866
You can develop your own extensions
using the north marion year book.
Syntax-Highlighting Addons
I.O. INC. - Classic Guns Of America IOI STG-2000 FLDNG STK 7.62X39. CAPACITY30CALIBER7.62x39. FOLDING STOCK U.S. made receiver. U.S. polymer stock. Ergonomic pistol grip. http://www.classic-guns-of-america.com/xaranshop_k002033s001_2.htm
7.62x39mm Rifle Deals | Slickguns This 7.62x39 caliber rifle combines authentic, high-quality features rarely seen in the . These are Nodak Spud Receivers marked model # SA2000M These . http://www.slickguns.com/category/rifles?caliber=10 in one installer (526 kb).
A simple JavaScript Formatter (47kb)7.62 X 39mm 11 results . Century Arms Draco Pistol, 7.62x39 mm, 12'' Barrel, 10 + 1 Rounds, Synthetic . I.O. Inc. Semi-Auto Tactical Rifle STG-2000 7.62X39 SYN, IOIN0001 . http://www.woodburyoutfitters.com/category_s/2184.htm
Saiga semi-automatic rifle - Wikipedia, the free encyclopedia The 7.62x39 version Saiga is unable to accept standard AK-47 magazines; physically the magazine catch will not allow a magazine to lock into place inside of . http://en.wikipedia.org/wiki/Saiga_semi-automatic_rifle CertMaker for iOS and Android
Classic Guns Of America STG 2000-C Rifle 7.62x39 BLACK POLYMER. STG 2000-C Rifle 7.62x39 BLACK POLYMER. 639.95 $US. view... STG 2000-C Rifle 7.62x39 DARK EARTH . http://www.classic-guns-of-america.com/
Windows 8 AppContainer Loopback Utility
Inter Ordnance Arms Firearms & AK-47 Rifles Products 1 - 27 of 27. rifles based on the famous AK-47 design in 7.62x39 mm . http://www.hinterlandoutfitters.com/inter-ordnance-m-372.html Download
Now (60kb) or
mobili fatti di legno
Traffic Differ
Century Arms CIA - Impact Guns Century AK47 GP 1975 7.62X39 W/20-Round Mag . Century Yugo PAP Rifle, 7.62x39, Wood Stock, High Cap Magazine . Century JW2000 12GA, Coach . http://www.impactguns.com/brandto.aspx?mid=75 Download now (47kb).
SAZ Clipboard
Collecting and Shooting the Military Surplus Rifle (2008 ... Jan 29, 2008 . The list of rifles includes: STG-2000C (7.62x39) STG-2002C (5.45x39) STG- 2003C (.223 NATO) SSG-97 (.308 & 7.62x54R) SSG-2000 (.308 . http://www.surplusrifle.com/articles2008/stg_2003c/index.asp
Gallery
The Gallery extension (50kb) ARMSLIST - For Sale: STG 2000C AK 47 Mar 25, 2013 . For Sale: STG 2000C AK 47. This listing has been . Caliber: 7.62x39; Action: Semi-automatic; Firearm Type: Rifle. Flag |. Scam; Spam/ . http://www.armslist.com/posts/1338080/seattle-washington-rifles-for-sale--stg-2000c-ak-47
QUAD RAILS HANDGUARD by Combathunting.com MNT-HGSG39 Leapers UTG Saiga 7.62x39 Quad Rail / Handguard fits Saiga Rifle . Note Can Fit I.O Inc. STG-2000 (5.56X45) STG 2000 Or 2000C With . http://www.combathunting.com/Products-QUAD_RAILS_HANDGUARD.html
AnyWHERE (sample)
The AnyWHERE extension (40kb) STG-2000-C Specifications - Modern Survival Online SHOTGUN NEWS was recently sent an STG-2000-C for test and evaluation. . Headstamped. 7.62X39 WOLF, the lacquered steel case has a red case mouth . http://www.modernsurvivalonline.com/Files/weapons/Articles/stgarticle.pdf
RulesTab (sample)
Rifles Feb 22, 2013 . STG 2000 PATTERNED AFTER THE ORIGINAL GERMAN WWII ASSAULT RIFLE. LONG RANGE AK . SHOOTS 7.62X39 WITH ADAPTER. http://www.bowersweapons.com/rifles.htm
Privacy Scanner
The Privacy Scanner
(41kb) I.O. INC : Mississippi Auto Arms, Inc ::, Your Source for Saiga, AK47 ... Inter Ordinance AK47 STG-2000 7.62x39 rifle Rifle comes with NIB with gun sling , 1 - 30 round master mold magazine, and instruction manual. ... $550.00 . http://www.mississippiautoarms.com/io-inc-m-30.html
Content-Blocking (sample)
The Content Blocker
sample (11kb) Other Bullpups Kel-Tec's upcoming KSG shotgun. MSAR STG. 16" 223 model with custom paint: "Gen 4" aka E4 model with 20" barrel 9mm "Gen1" with FA: 7.62x39: . http://pookieweb.dyndns.org:61129/groza/bullpups.htm
Image-Flipper (sample)
The Image
Flipper sample (6kb) Modern Firearms - Assault rifle ammunition 5.56x45 Mk.262, 5, 895, 2000, from standard assault rifle barrel (20") . developed for shooting matches, which in turn is based on Soviet 7.62x39 catridge case. . This cartridge was extensively used in MP.43/ MP.44 / Stg.44 assault rifles by . http://world.guns.ru/ammunition/intermediate-cartridges-e.html
3rd-Party Extensions
Military Rifles Feb 22, 2013 . STG 2000 PATTERNED AFTER THE ORIGINAL GERMAN WWII ASSAULT RIFLE. LONG RANGE AK . SHOOTS 7.62X39 WITH ADAPTER. http://www.bowersweapons.com/military_rifles.htm
Amazon.com: Customer Reviews: Tactical Saiga 7.62X39 mm Quad ... Tactical Saiga 7.62X39 mm Quad Rail System come with 12pc of Cover . junk Inter Ordnance decided to put on their STG 2000-C. I do not understand why they . http://www.amazon.com/Tactical-Saiga-7-62X39-System-Cover/product-reviews/B006XA8T22
neXpert Performance Report Generator
ASSAULT RIFLES AND THEIR AMMUNITION: The most successful attempt at this was probably the Swiss Stg.57 in 7.5x55 but . 7.9x57, 7.5x55, .30-06 and 7.62x51, shown next to the 7.62x39 and 5.56x45 . the SAR-21 from Singapore (below left) the FN2000 (bottom left), and the first . http://www.quarry.nildram.co.uk/Assault.htm
StresStimulus
Service rifle - Wikipedia, the free encyclopedia [edit] Austria. StG 58. StG 77 . Semi-automatic, 7.62x39 mm, 1945-1949 (East Germany). MPi-K, Selective fire, 7.62x39 mm, 1949-1990 (East Germany) . http://en.wikipedia.org/wiki/Service_rifle
Watcher - Passive Security Auditor
STP 2000 AK style pistol - YouTube Jul 27, 2010. shots out of a brand new I/O inc STP2000 pistol chambered in 7.62X39. . shooting slide fire with a 75 round drum stg 2000by THEASHLEY . http://www.youtube.com/watch?v=5rN_5QsIZ7M
ARMSLIST - Alabama Gun Classifieds Huntsville. FS/FT: 2000 rounds of 22lr. $300. 2000 rounds of Winchester M22 22lr 40 grain. 1255 ... Birmingham. FS: BRAND NEW MSAR AUG STG-223 LIMITED EDITION!!! $3000 . I have a New Romanian RPK AES10B 7.62x39 Has the . http://www.armslist.com/classifieds/alabama
Ammonite - Security Scanner
us department of education accredited colleges
x5s - Automated XSS Security Testing Assistantview... - Classic Guns Of America Our STG 2000-C Rifle is a high-quality, modernized AK-type rifle in caliber 7.62 x39. It has the reliability of an STG combined with the precision and grouping of . http://www.classic-guns-of-america.com/xaranshop_k001s001_2.htm
- Detecting where safe encodings were not applied to emitted
user-inputs
- Detecting where Unicode character transformations might bypass
security filters
- Detecting where non-shortest UTF-8 encodings might bypass security
filters
men's florida gator wallet
intruder21
Kaneohe Gun Shop Inventory None in stock: .22lr, .223 / 5.56, 7.62x39, .308, 9mm * * * . Simply awesome and historical fun; the STG-44 in .22, comes shipped in wooden crate with one mag . http://www.kaneohegs.com/inventory.htm
round hummingbird feeders replacement parts
HTML Inspector
Romanian Guns for Sale - Lionseek Rifle Dynamics AK47 7.62X39 FTF KCMO. $1400 . WTS "AK-47" - Cugir STG- 2000-C 7.62x39 $12. . Trade - Very Nice Romanian Ak 47 7.62x39 U... $39 . http://www.lionseek.com/guns/brand/romanian
The ASSAULT RIFLE: FACT and FANTASY (A look at the history, the ... . and fittings and often simultaneously marked MP.43, MP.44, and STG.44. . convenient to use the well-developed Soviet 7.62x39 round, whose bore diameter was, . I know right now of the whereabouts of over 2000 semi- automatic assault . http://textfiles.meulie.net/politics/GUNS/arifle2.txt
WCF Binary-Encoded Message Inspector
Rifles for Sale - Buy Rifles at GunBroker.com AK-47 Romanian WASR 10 Laser Scope 30 Rnd 7.62x39. 1, 0, $945.00, 9m + . TACTICAL PACKAGE AAC M4-2000 TRIGICON SRS01 CMAG. 1, 5, $3,000.00 . http://www.gunbroker.com/Rifles/BI.aspx
Chad Sowald's Request-To-Code
I.o. Inc. || Rifles & Shotguns I.O. INC. IOI STG-2000 7.62X39 SYN. $900.15. Out of stock. Add to Wishlist; | Add to Compare. 1 Item(s). Show. 15, 30, 60. per page. View as: Grid List. Sort By . https://armisteadguns.com/long-guns.html?manufacturer=1558
Eyal's Extensions
- leeann cochrane bank juneau alaska loan has written two extensions:
Thomas Deml's Export WCAT Script extension
The New Official AK Picture Thread - Page 5 - Glock Talk Saiga 7.62x39 (converted) Click the image to open in full size. STG-2000-C Click the image to open in full size. Armory USA SSR-85C-2 . http://www.glocktalk.com/forums/showthread.php?p=8442742
Per-Response Latency Extension
Rifles Feb 22, 2013 . STG 2000 PATTERNED AFTER THE ORIGINAL GERMAN WWII ASSAULT RIFLE. LONG RANGE AK . SHOOTS 7.62X39 WITH ADAPTER. http://www.bowersweapons.com/rifles.htm
WPAD Server
Other Bullpups Kel-Tec's upcoming KSG shotgun. MSAR STG. 16" 223 model with custom paint: "Gen 4" aka E4 model with 20" barrel 9mm "Gen1" with FA: 7.62x39: . http://pookieweb.dyndns.org:61129/groza/bullpups.htm
XML Request InspectorFeinstein Gun Ban List of 157 Firearms You Cant Have Jan 28, 2013 . the UZI variants, the Calico Liberty Series, and the KelTec Sub 2000. . If its 556 or 7.62x39, it's an assault rifle: It seems as if the gun lobby flipped through the pages of the Shotgun News or . MSAR STG-556 Optics Rail . http://www.firearmstalk.com/entries/Feinsteins-Gun-Ban-List-157-Firearms-You-Cant-Have.html XML DataSet InspectorKaneohe Gun Shop Inventory None in stock: .22lr, .223 / 5.56, 7.62x39, .308, 9mm * * * . Simply awesome and historical fun; the STG-44 in .22, comes shipped in wooden crate with one mag . http://www.kaneohegs.com/inventory.htm
©2013 Telerik
|


Guidance
How local authorities should collect and submit data for the annual attendance measures census.
Local authorities must complete the parental responsibility measures attendance census each October.
You must submit details of the controls you put in place in the previous academic year to help parents make sure their children attend school, including:
Dates for the 2016 census:
You should submit your data using COLLECT , our centralised data collection and management system.
Note that we’ll only be able to change the status of your data submission to ‘authorised’ once you’ve cleared all errors in the data in COLLECT .
The following documents will help you complete the census:
If you’re looking for guides from past collections of the census, visit the ‘Parental responsibility measures attendance census: closed censuses’ page.
Please use the service request form if you have any questions about your data. We aim to answer your question within 5 working days.
Reset your Secure Access login details using the forgotten password or username form .
Please contact your school or local authority approver, if:
If you don’t know who your approver is, please use the Secure Access service request form .
Please use the feedback form if you have any comments about our data collection service, including COLLECT and the helpdesk service.
Published: 25 March 2014
Updated: 24 August 2016
From: Department for Education


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You don't have a team or pending recommendations. Create a team or ask someone to invite you to join their team.
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You don't have a team or pending recommendations. Create a team or ask someone to invite you to join their team.
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{% if tm is None %}
You don't have a team or pending recommendations. Create a team or ask someone to invite you to join their team.
{% endif %}


| THEA-Theatre |
| C |
11191 |
THEA |
1030 |
001 |
24M |
3.000 |
Theatre Appreciation |
MWF |
09:10 am-10:05 am |
35 |
35 |
0 |
0 |
0 |
0 |
Nicholas S Ryan (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
13453 |
THEA |
1030 |
002 |
24M |
3.000 |
Theatre Appreciation |
TR |
02:40 pm-04:05 pm |
35 |
33 |
2 |
0 |
0 |
0 |
Santiago M Sosa (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11192 |
THEA |
1030 |
003 |
24M |
3.000 |
Theatre Appreciation |
R |
09:40 am-11:05 am |
35 |
33 |
2 |
0 |
0 |
0 |
Derek M Whittaker (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
14482 |
THEA |
1030 |
004 |
24M |
3.000 |
Theatre Appreciation |
T |
08:00 am-09:25 am |
35 |
34 |
1 |
0 |
0 |
0 |
Todd Edward Seage (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
13094 |
THEA |
1030 |
005 |
24M |
3.000 |
Theatre Appreciation |
TR |
04:20 pm-05:45 pm |
35 |
18 |
17 |
0 |
0 |
0 |
Santiago M Sosa (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11193 |
THEA |
1030 |
006 |
24M |
3.000 |
Theatre Appreciation |
MW |
04:10 pm-05:35 pm |
35 |
29 |
6 |
0 |
0 |
0 |
Rene Chadwick (P) |
01/17-05/04 |
BDA 309 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
14113 |
THEA |
1030 |
007 |
24M |
3.000 |
Theatre Appreciation |
MW |
02:20 pm-03:45 pm |
34 |
34 |
0 |
0 |
0 |
0 |
Rene Chadwick (P) |
01/17-05/04 |
SAG 208 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11194 |
THEA |
1030 |
008 |
24M |
3.000 |
Theatre Appreciation |
T |
02:40 pm-05:40 pm |
40 |
14 |
26 |
0 |
0 |
0 |
Rene Chadwick (P) |
01/17-05/04 |
BAS S305 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
11195 |
THEA |
1030 |
009 |
24M |
3.000 |
Theatre Appreciation |
R |
08:00 am-09:25 am |
35 |
35 |
0 |
0 |
0 |
0 |
Todd Edward Seage (P) |
01/17-05/04 |
BDA 216 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11196 |
THEA |
1030 |
010 |
24M |
3.000 |
Theatre Appreciation |
T |
09:40 am-11:05 am |
240 |
140 |
100 |
0 |
0 |
0 |
Kristi Charline Shamburger (P), Douglas Richard Browder , Derek M Whittaker |
01/17-05/04 |
TUCKER AUD |
MT Engage and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
11198 |
THEA |
1030 |
011 |
24M |
3.000 |
Theatre Appreciation |
TR |
01:00 pm-02:25 pm |
40 |
40 |
0 |
0 |
0 |
0 |
Santiago M Sosa (P) |
01/17-05/04 |
BAS S316 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11197 |
THEA |
1030 |
012 |
24M |
3.000 |
Theatre Appreciation |
TR |
08:00 am-09:25 am |
40 |
21 |
19 |
0 |
0 |
0 |
Patricia Lynn Clark (P) |
01/17-05/04 |
BAS S330 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
17375 |
THEA |
1030 |
013 |
24M |
3.000 |
Theatre Appreciation |
MWF |
10:20 am-11:15 am |
30 |
28 |
2 |
0 |
0 |
0 |
Nicholas S Ryan (P) |
01/17-05/04 |
BDA 218 |
GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
11199 |
THEA |
1030 |
D01 |
24M |
3.000 |
Theatre Appreciation |
|
TBA |
30 |
30 |
0 |
0 |
0 |
0 |
Virginia Ann Donnell (P) |
01/17-05/04 |
TBA TBA |
Distance Learning and Distance Education Fee-UG and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
12073 |
THEA |
1030 |
D02 |
24M |
3.000 |
Theatre Appreciation |
|
TBA |
30 |
30 |
0 |
0 |
0 |
0 |
Virginia Ann Donnell (P) |
01/17-05/04 |
TBA TBA |
Distance Learning and Distance Education Fee-UG and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
12345 |
THEA |
1030 |
D03 |
24M |
3.000 |
Theatre Appreciation |
|
TBA |
30 |
29 |
1 |
0 |
0 |
0 |
Douglas Richard Browder (P) |
01/17-05/04 |
TBA TBA |
Distance Learning and Distance Education Fee-UG and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
14768 |
THEA |
1030 |
D04 |
24M |
3.000 |
Theatre Appreciation |
|
TBA |
30 |
26 |
4 |
0 |
0 |
0 |
Sparkle Ann Tufano (P) |
01/17-05/04 |
TBA TBA |
Distance Learning and Distance Education Fee-UG and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11201 |
THEA |
1030 |
H01 |
24M |
3.000 |
(HONORS) Theatre Appreciation |
MWF |
09:10 am-10:05 am |
20 |
19 |
1 |
0 |
0 |
0 |
Richard A Hansen (P) |
01/17-05/04 |
BDA 218 |
University Honors and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| NR |
11200 |
THEA |
1030 |
H02 |
24M |
3.000 |
(HONORS) Theatre Appreciation |
TR |
08:00 am-09:25 am |
20 |
13 |
7 |
0 |
0 |
0 |
Richard A Hansen (P) |
01/17-05/04 |
BDA 218 |
University Honors and GE-Current: Hum/Fine Arts-Hum and Gen Ed - Hum/Fine Art Block and Credit from 4-Year College and Visual and Performing Arts |
| C |
12897 |
THEA |
2000 |
001 |
24M |
2.000 |
Introduction to Theatre Studies |
M |
04:10 pm-05:35 pm |
20 |
20 |
0 |
0 |
0 |
0 |
Jeffery Scott Gibson (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College |
| NR |
11202 |
THEA |
2110 |
001 |
24M |
3.000 |
Stagecraft |
TR |
02:40 pm-04:05 pm |
30 |
29 |
1 |
0 |
0 |
0 |
Brian D Elliott (P) |
01/17-05/04 |
BDA 218 |
Credit from 4-Year College |
| C |
12898 |
THEA |
2510 |
001 |
24M |
3.000 |
Acting for Non-Majors |
MW |
02:20 pm-03:45 pm |
16 |
16 |
0 |
0 |
0 |
0 |
Jette Halladay (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College |
| C |
16004 |
THEA |
2510 |
002 |
24M |
3.000 |
Acting for Non-Majors |
TR |
11:20 am-12:45 pm |
16 |
16 |
0 |
0 |
0 |
0 |
Derek M Whittaker (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College |
| NR |
13896 |
THEA |
2510 |
003 |
24M |
3.000 |
Acting for Non-Majors |
MW |
12:40 pm-02:05 pm |
16 |
15 |
1 |
0 |
0 |
0 |
Kyle Duane Kennedy (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College |
| NR |
13536 |
THEA |
3050 |
001 |
24M |
3.000 |
Theatrical Design Concepts |
T |
01:00 pm-04:00 pm |
12 |
10 |
2 |
0 |
0 |
0 |
Scott J Boyd (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| C |
16618 |
THEA |
3050 |
002 |
24M |
3.000 |
Theatrical Design Concepts |
R |
01:00 pm-04:00 pm |
12 |
12 |
0 |
0 |
0 |
0 |
Scott J Boyd (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| NR |
11203 |
THEA |
3100 |
001 |
24M |
3.000 |
Make-Up Techniques for Performers |
T |
02:40 pm-05:40 pm |
16 |
15 |
1 |
0 |
0 |
0 |
Patricia Lynn Clark (P) |
01/17-05/04 |
BDA 120 |
Credit from 4-Year College and Upper-Division Work |
| C |
11204 |
THEA |
3200 |
001 |
24M |
3.000 |
Introduction to Costume for Arts and Entertainment |
TR |
09:40 am-11:05 am |
15 |
15 |
0 |
0 |
0 |
0 |
Tommy Earl Macon (P) |
01/17-05/04 |
BDA 118 |
Credit from 4-Year College and Upper-Division Work |
| NR |
11205 |
THEA |
3200 |
002 |
24M |
3.000 |
Introduction to Costume for Arts and Entertainment |
TR |
11:20 am-12:45 pm |
15 |
14 |
1 |
0 |
0 |
0 |
Tommy Earl Macon (P) |
01/17-05/04 |
BDA 118 |
Credit from 4-Year College and Upper-Division Work |
| C |
12899 |
THEA |
3400 |
001 |
24M |
3.000 |
Lighting for Arts and Entertainment I |
MW |
02:20 pm-03:45 pm |
16 |
16 |
0 |
0 |
0 |
0 |
Darren E Levin (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| C |
15677 |
THEA |
3400 |
002 |
24M |
3.000 |
Lighting for Arts and Entertainment I |
TR |
11:20 am-12:45 pm |
16 |
16 |
0 |
0 |
0 |
0 |
Brian D Elliott (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| NR |
14115 |
THEA |
3500 |
001 |
24M |
3.000 |
Stage Movement |
TR |
11:20 am-12:45 pm |
16 |
13 |
3 |
0 |
0 |
0 |
Michelle E Parkins (P) |
01/17-05/04 |
MC G040B |
Credit from 4-Year College and Upper-Division Work |
| C |
11206 |
THEA |
3510 |
001 |
24M |
3.000 |
Acting II |
TR |
09:40 am-11:05 am |
16 |
16 |
0 |
0 |
0 |
0 |
Kyle Duane Kennedy (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| C |
14116 |
THEA |
3520 |
001 |
24M |
3.000 |
Voice for the Actor I |
TR |
01:00 pm-02:25 pm |
16 |
16 |
0 |
0 |
0 |
0 |
Kristi Charline Shamburger (P) |
01/17-05/04 |
MC G040A |
Credit from 4-Year College and Upper-Division Work |
| NR |
11207 |
THEA |
3600 |
001 |
24M |
3.000 |
Child Drama |
MWF |
09:10 am-10:05 am |
30 |
28 |
2 |
0 |
0 |
0 |
Jette Halladay (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| C |
12649 |
THEA |
3700 |
001 |
24M |
3.000 |
Fundamentals of Play Directing |
TR |
02:40 pm-04:05 pm |
12 |
12 |
0 |
0 |
0 |
0 |
Halena Starr Kays (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| NR |
11208 |
THEA |
3800 |
D01 |
24M |
3.000 |
Introduction to Arts Management |
|
TBA |
25 |
19 |
6 |
0 |
0 |
0 |
DeRon S Williams (P) |
01/17-05/04 |
TBA TBA |
Distance Learning and Distance Education Fee-UG and Credit from 4-Year College and Upper-Division Work |
| C |
14710 |
THEA |
3820 |
001 |
24M |
3.000 |
Script Analysis |
TR |
11:20 am-12:45 pm |
20 |
20 |
0 |
0 |
0 |
0 |
Halena Starr Kays (P) |
01/17-05/04 |
BDA 218 |
Credit from 4-Year College and Upper-Division Work |
| C |
12900 |
THEA |
3820 |
002 |
24M |
3.000 |
Script Analysis |
TR |
01:00 pm-02:25 pm |
20 |
20 |
0 |
0 |
0 |
0 |
Halena Starr Kays (P) |
01/17-05/04 |
BDA 218 |
Credit from 4-Year College and Upper-Division Work |
| NR |
12839 |
THEA |
3910 |
001 |
24M |
3.000 |
Internship in Theatre |
|
TBA |
5 |
1 |
4 |
0 |
0 |
0 |
Halena Starr Kays (P) |
01/17-05/04 |
TBA TBA |
Credit from 4-Year College and Upper-Division Work |
| NR |
16619 |
THEA |
4280 |
001 |
24M |
3.000 |
Topics in Costume for Arts and Entertainment:Draping for Theatre |
R |
02:40 pm-05:40 pm |
12 |
9 |
3 |
0 |
0 |
0 |
Patricia Lynn Clark (P) |
01/17-05/04 |
BDA 118 |
Credit from 4-Year College and Upper-Division Work |
| NR |
15605 |
THEA |
4290 |
001 |
24M |
3.000 |
Problems in Theatre:Film in Theatre |
TR |
09:40 am-11:05 am |
16 |
13 |
3 |
0 |
0 |
0 |
Richard A Hansen (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| NR |
13246 |
THEA |
4400 |
001 |
24M |
3.000 |
Lighting for Arts and Entertainment II |
MW |
12:40 pm-02:05 pm |
16 |
9 |
7 |
0 |
0 |
0 |
Darren E Levin (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |
| NR |
16620 |
THEA |
4480 |
001 |
24M |
3.000 |
Automated Lighting for Arts and Entertainment |
M |
02:40 pm-05:40 pm |
12 |
5 |
7 |
0 |
0 |
0 |
Brian D Elliott (P) |
01/17-05/04 |
TUCKER AUD |
Credit from 4-Year College and Upper-Division Work |
| NR |
14532 |
THEA |
4490 |
001 |
24M |
3.000 |
Advanced Topics in Lighting for Arts and Entertainment |
|
TBA |
2 |
1 |
1 |
0 |
0 |
0 |
Darren E Levin (P) |
01/17-05/04 |
TBA TBA |
Credit from 4-Year College and Upper-Division Work |
| C |
16621 |
THEA |
4520 |
001 |
24M |
3.000 |
Acting for the Camera |
TR |
01:00 pm-02:25 pm |
12 |
12 |
0 |
0 |
0 |
0 |
Kyle Duane Kennedy (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| C |
13242 |
THEA |
4570 |
001 |
24M |
3.000 |
The Body Intelligent: A Study of the Alexander Technique |
MWF |
11:30 am-12:25 pm |
7 |
7 |
0 |
16 |
16 |
0 |
Marsha Diane Barsky (P) |
01/17-05/04 |
MC G040B |
Credit from 4-Year College and Upper-Division Work |
| NR |
11853 |
THEA |
4600 |
001 |
24M |
3.000 |
Storytelling |
MWF |
11:30 am-12:25 pm |
20 |
19 |
1 |
0 |
0 |
0 |
Jette Halladay (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| NR |
12444 |
THEA |
4600 |
002 |
24M |
3.000 |
Storytelling |
MWF |
10:20 am-11:15 am |
20 |
19 |
1 |
0 |
0 |
0 |
Jette Halladay (P) |
01/17-05/04 |
BDA 101 |
Credit from 4-Year College and Upper-Division Work |
| NR |
17367 |
THEA |
4690 |
S01 |
24M |
3.000 |
International Studies in Theatre:Beyond the Footlights: Theatrical Tradition in Britain |
|
TBA |
10 |
6 |
4 |
0 |
0 |
0 |
Scott J Boyd (P) |
01/17-05/04 |
TBA TBA |
Study Abroad and Credit from 4-Year College and Upper-Division Work |
| C |
11211 |
THEA |
4810 |
001 |
24M |
3.000 |
Theatre History II: Restoration to Present |
MW |
02:20 pm-03:45 pm |
25 |
27 |
-2 |
0 |
0 |
0 |
Richard A Hansen (P) |
01/17-05/04 |
BDA 216 |
Great Books and Credit from 4-Year College and Upper-Division Work |
| NR |
16622 |
THEA |
4840 |
001 |
24M |
3.000 |
Musical Theater History |
MW |
12:40 pm-02:05 pm |
20 |
14 |
6 |
30 |
23 |
7 |
Kristi Charline Shamburger (P) |
01/17-05/04 |
BDA 218 |
Credit from 4-Year College and Upper-Division Work |
| NR |
11212 |
THEA |
4900 |
001 |
24M |
1.000 |
Production Practicum IV:Performance |
|
TBA |
20 |
10 |
10 |
0 |
0 |
0 |
Nicholas S Ryan (P) |
01/17-05/04 |
TBA TBA |
Credit from 4-Year College and Upper-Division Work |
| NR |
14683 |
THEA |
4900 |
002 |
24M |
1.000 |
Production Practicum IV:Design/Technology |
|
TBA |
20 |
13 |
7 |
0 |
0 |
0 |
Nicholas S Ryan (P) |
01/17-05/04 |
TBA TBA |
Credit from 4-Year College and Upper-Division Work |
| C |
14741 |
THEA |
4950 |
002 |
24M |
3.000 |
Directed Studies |
|
TBA |
1 |
1 |
0 |
0 |
0 |
0 |
Halena Starr Kays (P) |
01/17-05/04 |
TBA TBA |
Credit from 4-Year College and Upper-Division Work |
| C |
11214 |
THEA |
4990 |
001 |
24M |
2.000 |
Senior Seminar in Theater |
W |
04:10 pm-05:35 pm |
15 |
16 |
-1 |
0 |
0 |
0 |
Jeffery Scott Gibson (P) |
01/17-05/04 |
BDA 220 |
Credit from 4-Year College and Upper-Division Work |


--- layout: single author_profile: true --- {% include base_path %}
Dave Benvenuti is a Freelance Software Engineer/Architect specializing in Ruby on Rails, node.js, and frontend Javascript development.


@* * Copyright 2020 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import config.ApplicationConfig @import binders.propertylinks._ @import controllers.propertyLinking.routes._ @import helpers._ @import models.upscan._ @import uk.gov.hmrc.play.views.html.helpers.form @import uk.gov.hmrc.play.views.html.helpers.input @( submissionId: String, errors: List[String] = Nil, uploadedFiles: Map[String, UploadedFileDetails] = Map(), formEvidence: Form[_], linkingSession: LinkingSession )(implicit request: Request[_], messages: Messages, config: ApplicationConfig) @main_template(title = Messages("uploadEvidence.show.title"), bottomBackLink = true, topBackLink = true, backLinkUrl = Some(controllers.propertyLinking.routes.ChooseEvidence.show().url)) {
@messages("uploadEvidence.p.1")
@messages("uploadEvidence.evidenceTypes")
@messages("uploadFile.allowedTypes.mustbe")
@messages("error.summary.text")
@*(@upload.size.formatted)*@
}


Conditionals:
What are conditional statement?
Conditional statements have a boolean(True or False) condition . If the condition evaluates to True , all the indented statements are executed. If the condition evaluates to False , then , all the indented statements are ignored and
next line is executed.
Need of conditional statements:
We need conditional statements in our program to change the direction of program according to the conditions.
Types of conditional statements:-
- if statement
- if-else statement
- chained conditional statement
Let's take a look at all conditional statements:
1. if statement :
When we have a condition or boolean expression to check , we use if condition.
Syntax:
if boolean condition:
statement(s)
Example:
if a>b:
print(a)
- Here, colon(':') is used to seperate the if statement with if body
- 'a>b' is the boolean condition
- If this boolean condition evaluates to True , then the statements inside the if block will be executed
- 'print(a)' here , is the statement inside the if block , which will be executed only if the boolean condition evalutes to True
- If the condition evalutes to false the statement(s) inside the if block will be ignored , and rest of the statements will be executed.
Let's take an example from our daily life:
Example: If it is rainiing, use an umbrella otherwise don't use an umbrella.
Explanation: Here , the condition is "if it is raining" , if this condition evaluates to true
, then we use an umbrella ,otherwise, it is not raining so we don't need the umbrella.
Now, let us take a look at the flowchart:
Thus, this flowchart explain us the flow of the program using 'if' conditional statement.
2. if-else statement
These if-else statements gives us an opportunity to have a seperate block of code to be executed if the boolean condition return false, i.e, we can write a set of code which we want to be executed when condition is true , in the if
block , and other set of codes in the else block.
Syntax:
if (boolean condition):
statement(s)
else:
statements(s)
Example:If we want to print the greater number among two numbers:
if a>b:
print(a)
else:
print(b)
Here, we first check if a>b , if True ,a is printed . Else , statements under else code is executed and , b is printed.
- Here, colon(':') is used to separate the if statement with if body and the else statement withe the else body.
- 'a>b' is the boolean condition
- If this boolean condition evaluates to True , then the statements inside the if block will be executed
- 'print(a)' here , is the statement inside the if block , which will be executed only if the boolean condition evalutes to True
- If the condition evaluates to false, the statement(s) under else bock will be executed.
Let's take an example from our daily life:
Example: Only the students with CGPA greater than 8.5 will be allowed to enter , others , go back home.
Explanation: Here , the condition is "the CGPA of the student is greater
than 8.5" , if this condition evaluates to true , then then student is allowed in , else he is requested to go back home.
Now, let us take a look at the flowchart:
Thus, this flowchart explain us the flow of the program using 'if-else' conditional statement.
3. Chained conditional statements
Sometimes we need more than two branches. When we have codes for more than two possibilities we require chained conditional statements. These have an elif statement , where we can mention the second set of possibilities that we have
in our mind.
Syntax:
if boolean condition:
statement(s)
elif:
statements(s)
else:
statements(s)
Example:If we want to print the greater number among two numbers:
Example:
if a>b:
print(a)
elif b>a:
print(b)
else:
print("equal")
Here, we first check if a>b , if True ,a is printed . Else , elif condition is checked, if b>a, if True , b is printed.Else statements under else code is executed and , "equal" is printed.
- It has an if statement at first , if that evaluate to true , then it goes into if block.
- If it evaluates to false, it goes to elif, i.e, it checks the condition of the elif block.
- If the condition in the elif bock evaluates to true , then the elif block is executed.
- If the condition again evaluates to false , then the code in the else block is executed.
Now, let us take a look at the flowchart:
Thus, this flowchart explain us the flow of the program using 'Chained conditional'statement.
To get more practical knowledge Click here.


@Documented @Retention(value=RUNTIME) @Target(value=TYPE) public @interface Priority
A developer that provides an implementation for a MessageSender
or a
TemplateParser
should indicate the priority of its implementation.
This way the result of MessagingBuilder
is deterministic (always the
same result).
However, in a pluggable system, the value set by the developer may not fit the behavior needed by the user of the library. That's why the developer can provide a default value and a list of property keys.
If a property is set, the user of the library can change the priority so if there are several implementations that are suitable to send the message, the selected one can be changed.
The other advantage is that the registration priority of the
Configurer
s are independent of the priority of the
MessageSender
and TemplateParser
implementations.
| Modifier and Type | Optional Element and Description |
|---|---|
int |
defaultValue
If no property is declared or no value is set for declared properties,
the default value is used as the priority.
|
String[] |
properties
The list of declared property keys of the form "${property.key}".
|
public abstract String[] properties
If several property keys are registered, the first as a higher priority.
If no property is registered, then the priority is not configurable.
Copyright © 2021. All rights reserved.


CS 61A Exam Video Walkthroughs
Fall 2016 Midterm 2 Playlist
Exam
Solution
Annotated
Fall 2016 Midterm 1 Playlist
Exam
Solution
Annotated
Spring 2016 Final Playlist
Exam
Solution
Annotated
Spring 2016 Midterm 2
Exam
Solution
Annotated
Fall 2015 Final
Exam
Solution
Annotated
Spring 2016 Midterm 2
Exam
Solution
Annotated


If we had to implement cuts, would you prefer to cut either refuse collection or street lighting? (48/64Italic)
This is a specific descripion about this poll. We’ll look to limit this in height with overflow-y so that it sits as a max of 3 lines and no more - that means that the rest of the stuff will {Open Sans Light 18/24}
please vote for one of the following to have your say:
Some stuff at the bottom explains what this all about. I guess that Opportunity Peterborough will supply data something here about data and voting and so forth


| A Cup of Radicchio: Curriculum Vitae A personal website of a power looper, a skateboarder, and a coder |
|
| Home Docs Sources Blog GitHub |
12th of June, 2023
| SUMMARY | |
| Total IT experience – 20+ years | An IT multilinguist | |
| Hardware |
|
| Operating Systems |
Unices and derivatives (OpenBSD, FreeBSD, Arch Linux, Debian GNU/Linux, Ubuntu, Fedora, CentOS, Red Hat Enterprise Linux, Mac OS X, HP-UX, IBM AIX, Sun Solaris). Microsoft Windows |
| Programming Languages |
Java, Clojure, Perl 5, Python, Bash Shell Script, JavaScript (ES5-6/Node.js), C, Go, GNOME Vala/Genie, Lua, C++, Objective-C, Fortran 95, Erlang, Elixir, LFE (Lisp Flavoured Erlang) |
| Technologies |
|
| Development Tools |
|
| DBMS | PostgreSQL, MySQL / MariaDB, Oracle Database, IBM DB2 Universal Database, SQLite, MongoDB, Redis |
| Application / Web Servers |
|
| Middleware / Misc. Apps |
Git, GitHub, GitLab, Bitbucket, Perforce (P4), Subversion (SVN), Concurrent Versions System (CVS), JIRA, Redmine, Trac, Trello, MediaWiki, Doxygen, Samba, Travis CI and Jenkins CI/CD, Docker (and Docker Compose), Cron, QEMU, Zabbix, etc. |
| Languages | |
| English | Full Professional Proficiency:
|
| Russian | Native or Bilingual Proficiency |
| Italian | Elementary Proficiency |
| Education (in reverse-chronological order) | |
| May 2002 – Jul 2003 | Ph.D. student of the School for Advanced Studies, Pavel Sukhoi Gomel State Technical University |
| Oct 2001 – May 2002 | Master student of the Abdus Salam International Centre for Theoretical Physics, Trieste, Italy |
| Nov 1999 – Oct 2001 | Postgraduate of the Pavel Sukhoi Gomel State Technical University (Ph.D. student of the School for Advanced Studies) |
| 1994 – 1999 | Student of the Pavel Sukhoi Gomel State Technical University, Gomel, Belarus (M.Sc. Hons) |
Work experienceseparate page
| Personal information | |
| Radislav Golubtsov | |
| Date of birth | June 27, 1977 (46yo) | Zodiac sign: Cancer / Fire Snake |
| Citizenship | Republic of Belarus |
| Marital status | Single |
| No. of children | 2 |
| Miscellaneous | |
| My GitHub | https://github.com/rgolubtsov |
| Sport Activities |
|


Press
Action Bar Button
Primary
button
Secondary button
Inactive
Accept
Decline
Action
Bar
Button
Primary button
Secondary button
Inactive
Agree
Decline
Warning
Warning
Action Bar Button
Action Bar Button
Action Bar Button
Download Application
From This Button
Action Bar Button
Action Bar Button
Default
Default
Agree
Agree
Decline
Decline
Transparent
Transparent
Emphasized
Emphasized
Icon last
Disabled Buton
"This is a label, this is a label"
Action Bar Button
Primary button
Secondary button
Inactive
Agree
Decline
Action Bar Button
Default
Default
Agree
Agree
Decline
Decline
Transparent
Transparent
Emphasized
Emphasized
Download
Download
Download
Buttons with tooltip
Show Registration Dialog


An attempt to implement game logic similar to Five Nights at Freddy's with AngularJS to practice data binding and views.
Currently there is no user interface aside from refreshing or leaving the page. The timer counts seconds, and each second each enemy may move depending on its program. If an enemy reaches the security office it may stick around a few seconds, then it will go backstage, then either continue wandering or go back to its original position if backstage isn't on its movement possibilities. Power never changes. Not all locations are used.
| Enemy | Kills |
|---|---|
| {{ enemy.name }} | {{ enemy.kills }} |
| View | Type | Room | Location Name | Location ID | Enemies Present |
|---|---|---|---|---|---|
| {{ view.name }} | {{ view.type }} | {{ view.room }} | {{ loc.name }} | {{ loc.locId }} | {{ enemy.name }} |


null
void
Object
[a] -> (a -> b) -> [b]
[a] -> (a -> Bool) -> Bool
Ord a => [a] -> [a]
class $Class$ {
public static int $method$(String $string$,
int $def$)
}
core.typed
- an optional type system for Clojure
String uuid;
String website;
String email;
String firstName, lastName;
String clientXml;
int birthYear;
long registrationDate;
int min, max;
boolean registered;
int priority;
UUID uuid;
URL website;
Email email;
Name name;
Optional<Document> client;
Year birthYear;
Instant registration;
Range<Integer> range;
Status status;
Priority priority;
Try<InputStream> tryOpen(File f) {
return Try.ofFailable(
() -> new FileInputStream(f));
}
github.com/jasongoodwin/better-java-monads
CompletableFuture<String> callWebService() {
//...
}
null
"[null
] led to innumerable errors, vulnerabilities, and system crashes,
which have probably caused a billion dollars of pain and damage [...]"
- [...]
NullPointerException
is by far the most common exception in Java.- [...] worsens readability by [filling] your code with often deeply nested null checks.
- [...] It doesn’t have any semantic meaning [...]
- [...] Java always hides pointers from developers except in one case: the null pointer.
- [...] It creates a hole in the type system. [...] it can be assigned to any reference type
org.apache.catalina.connector.CoyoteAdapter
Option(al)
?
Optional<String> opt = null; //YOLO
scala> Some(null) == None
res1: Boolean = false
Demo
val s: String = "abc"
val x = s.length()
val s: String? = null
val x = s.length()
val s: String? = "abc"
val x: Int? = s?.length()
if (s != null) {
val x2: Int = s.length()
}
A flyweight [...] minimizes memory use by sharing as much data as possible with other similar objects;
[...] simple repeated representation would use an unacceptable amount of memory.
[...] Flyweight objects must be immutable.
[...] model using Value Objects instead of Entities wherever possible.
[...] Entity’s design should be biased toward serving as a Value container
[...] Value types that measure, quantify, or describe things are easier to create, test, use, optimize, and maintain.
[...] performance almost always matters.
And I absolutely detest the fact that people [...] dismiss performance concerns so readily.
float Q_rsqrt( float number )
{
long i;
float x2, y;
const float threehalfs = 1.5F;
x2 = number * 0.5F;
y = number;
i = * ( long * ) &y; // evil floating point
// bit level hacking
i = 0x5f3759df - ( i >> 1 ); // what the fuck?
y = * ( float * ) &i;
y = y * ( threehalfs - ( x2 * y * y ) ); // 1st iteration
//y = y * ( threehalfs - ( x2 * y * y ) ); // 2nd iteration, this can be removed
return y;
}
wikipedia.org/wiki/Fast_inverse_square_root
null
void
Object


The map shows the President's Postdoctoral Fellow Program alumni recorded as currently working in United States. Each green dot shows the location of where an alumn/a is working. The more alumni in a given location, the deeper the intensity of the dot.


"The Big Lebowski" (USA, 1998) a film review by James Kendrick
director: Joel Coen screenwriters: Joel and Ethan Coen stars: Jeff Bridges (The Dude), John Goodman (Walter Sobchak), Julianne Moore (Maude Lebowski), Steve Buscemi (Donny), David Huddleston (The Big Lebowski), John Turturro (Jesus Quintana), Peter Stormare (Nihilist), Sam Elliott (The Stranger), Ben Gazzara (Jackie Treehorn), Tara Reid (Bunny Lebowski) MPAA rating: R review: ***1/2 (out of ****)
Since their film debut in 1984 with the tightly wrought Texas thriller "Blood Simple," Joel and Ethan Coen have been one of the most eclectic, original, and downright fascinating creative teams in modern Hollywood. Their films are highly stylized, deeply embedded in a particular time and place, and their characters are more often than not everyday people who get caught up in highly unusual circumstances.
In "The Big Lebowski," their first cinematic offering since the multiple Academy Award-winning "Fargo," the action takes place in Los Angeles during the Gulf War, and the hero of the story is Jeff Lebowski, aka The Dude. The Dude is played by Jeff Bridges -- one of Hollywood's most underrated actors -- in the best stoned performance since Sean Penn stumbled through the halls of Ridgemont High.
The Dude is a simple man who has never quite made it out of the sixties. He has shaggy, shoulder-length hair, a grizzled goatee badly in need of a trim, and he wears mostly stained tee-shirts, long shorts, and gellies without socks. He smokes a lot of pot, drinks a lot of White Russians, and is more than content to spend the majority of his time bowling with his two buddies, a slightly psychotic Vietnam vet named Walter Sobchak (John Goodman) and Donny (Steve Buscemi), one of those guys who always wants to be part of the conversation, but never quite makes it in.
One day, the Dude is confused with another Jeff Lebowski (David Huddleston), this one being a millionaire philanthropist whose trophy wife, Bunny (Tara Reid), owes a lot of people a lot of money. The main plot and all its accompanying side-plots and Coenesque diatribes are far too complicated to get into here. Suffice to say that The Dude becomes deeply involved with the Big Lebowski when Bunny is kidnaped and The Dude is asked to be a courier for the ransom money. By the time all is said and done, Walter has become deeply involved, as has The Big Lebowski's daughter, Maude (Julianne Moore), a feminist performance artist, a pornographer named Jackie Treehorn (Ben Gazzara), and a group of German nihilists led by Peter Stormare, who was so great as the silent but deadly kidnaper in "Fargo."
"The Big Lebowski" plays like an amalgam of all the Coen Brothers' earlier efforts. It shares their previous films' strong sense of time and place, as well as their send-ups of movie genres and political and cultural ideologies. "Lebowski" has the same kind of crazed caricatures that made "Raising Arizona" such a hoot; it has surrealistic dream sequences (one of which involves a Busby Berkley-like dance number) that characterized the ending of "Barton Fink"; and it has the same kind of cartoonish look and feel that pervaded "The Hudsucker Proxy."
The film was shot by veteran cinematographer Roger Deakins, who has worked with the Coens on three other films, "Barton Fink," "The Hudsucker Proxy," and "Fargo." Deakins always gives the Coens' films a distinctive visual style, and here he does a brilliant job of capturing the bright colors of seedy Los Angeles in the early nineties, whether that by the obnoxious blue bowling suit worn by The Dude's main competitor Jesus Quintana (John Turturro), or the strikingly manic dream sequences, one of which involves the dizzy spectacle of watching a strike from a bowling ball's point of view.
If "Fargo" was the Coen Brothers' most restrained effort in years, "The Big Lebowski" marks their return to over-the-edge filmmaking. It is overflowing with style and attitude, which helps make up for the scattered plot fragments that never quite come together in the end. The Coens fill the screen with lighting, set design, music, and hilarious performances from all the leads, especially Bridges and the always reliable John Goodman, who shows real comic timing in his untimely 'Nam-inspired outbursts and his intense dedication to his adopted Judaism.
With Joel directing, Ethan producing, and both writing, the Coen Brothers seem limitless in their capacity to turn our world inside out. Their talent lies not in their ability to reflect the norms of reality, but in their potential to dig out the darkest corners of life and bring them to light. The Coens rejoice in the oddballs of the world, and they put them center-stage to show that it's not just guys like The Dude who are nuts, but the entire planet.
©1998 James Kendrick
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Basic, semi-abstract scene node class. Can have children which are other scene nodes, or derived types.
More...
#include <node.hpp>
Inherited by cat3d::obj::camera, cat3d::obj::model, cat3d::obj::texture, and cat3d::obj::timer.
Basic, semi-abstract scene node class. Can have children which are other scene nodes, or derived types.
◆ bind()
| size_t cat3d::scene::node::bind |
( |
node_bind_loc |
loc, |
|
|
std::function< void()> |
fn |
|
) |
| |
Add a hook into the update cycle of the node.
- Parameters
-
| loc | The location in the update cycle to hook into |
| fn | The function to run |
- Returns
- size_t An event token id, to unbind once the hooked class goes out of scope.
◆ create()
template<typename Obj , typename... Args>
| Obj* cat3d::scene::node::create |
( |
Args... |
args | ) |
|
|
inline |
Add a derived node class as a child.
- Template Parameters
-
| Obj | The type of object to add |
| Args | The arguemnts passed to the constructor |
- Returns
- Obj* Pointer to the newly created node instance
◆ create_node()
| node* cat3d::scene::node::create_node |
( |
| ) |
|
Create a child node.
- Returns
- node* The created node
◆ delete_child()
| void cat3d::scene::node::delete_child |
( |
node * |
child | ) |
|
Remove the given child node.
- Parameters
-
| child | A child of this node |
◆ new_root()
| static node* cat3d::scene::node::new_root |
( |
| ) |
|
|
static |
Create a new root scene node.
- Returns
- node*
◆ parent()
| node* cat3d::scene::node::parent |
( |
| ) |
const |
Get this node's parent.
- Returns
- node*
◆ render_self()
| virtual void cat3d::scene::node::render_self |
( |
window & |
win | ) |
|
|
protectedvirtual |
Overridden by child classes to implement custom rendering.
- Parameters
-
| win | The main cat3d window. |
Reimplemented in cat3d::obj::model.
◆ transform()
Access to the underlying transform.
- Returns
- util::transform& Reference to this node's transform.
◆ unbind()
| void cat3d::scene::node::unbind |
( |
size_t |
id | ) |
|
Unbind a hook from the node.
- Parameters
-
◆ update_self()
| virtual void cat3d::scene::node::update_self |
( |
window & |
win | ) |
|
|
protectedvirtual |
The documentation for this class was generated from the following file:


{%extends "layout.html" %} {%block bl1%}
Hello! Friends, My name is Abhishek Verma. I make my webapp plese choose any link to proceed:


Package com.cyberfront.crdt
Class OperationTwoSet
- java.lang.Object
-
- com.cyberfront.crdt.AbstractCRDT
-
- com.cyberfront.crdt.OperationTwoSet
-
- Direct Known Subclasses:
LastWriteWins
public abstract class OperationTwoSet extends AbstractCRDT
This is an abstract class which defines a Two Set CRDT. One set contains operations to use, called an ADD set, and the other contains a set of operations which must not be used, called a REMOVE set. Elements in the REMOVE set have precedence over those in the ADD set. That is, if an element is contained in the REMOVE set it will not be used if it is in the ADD set, regardless of when it was added to the ADD set.
-
-
Field Summary
Fields Modifier and Type Field Description private java.util.Collection<Operation>
addSet
The ADD set.protected static java.lang.String
ADDSET
Property label for the add set propertyprivate java.util.Collection<Operation>
remSet
The REMOVE set.protected static java.lang.String
REMSET
Property label for the remove set property
-
Constructor Summary
Constructors Constructor Description OperationTwoSet()
Default constructor for the two set instance...OperationTwoSet(OperationTwoSet src)
Copy constructor which duplicates the state of the given CRDT instanceOperationTwoSet(java.util.Collection<Operation> addset, java.util.Collection<Operation> remset)
COnstructor to specifically define the add and remove sets
-
Method Summary
All Methods Static Methods Instance Methods Concrete Methods Modifier and Type Method Description protected void
addOperation(Operation op)
Insert an operation to the ADD setvoid
clear()
This method removes all elements in both the ADD and REMOVE sets, effectively reseting them to empty.java.util.Collection<Operation>
copyAddSet()
Generate and retrieve a copy of the add set for public consumptionjava.util.Collection<Operation>
copyRemSet()
Generate and retrieve a copy of the remove set for public consumptionlong
countCreated()
Count the number of CREATE Operation instances are associated with this CRDTlong
countDelete()
Count the number of DELETE Operation instances are associated with this CRDTprotected static long
countOperations(java.util.Collection<Operation> ops, Operation.OperationType opType)
This static method counts the number of NewBaseOperation instances of the type given which are in the collection providedlong
countRead()
Count the number of READ Operation instances are associated with this CRDTlong
countUpdate()
Count the number of UPDATE Operation instances are associated with this CRDTprivate static java.util.Collection<Operation>
diff(java.util.Collection<Operation> lhs, java.util.Collection<Operation> rhs)
This private static function returns a set resulting from removing all of the elements on the RHS from the set on the LHSprotected static boolean
doesTypeExist(java.util.Collection<Operation> operations, Operation.OperationType type)
Look in a collection of operations to determine if at least one element has the given OperationTypelong
getAddCount()
Retrieve the number of elements in the Add Setprivate java.util.Collection<Operation>
getAddSet()
This method retrieved the ADD set.long
getOperationCount()
Retrieve the number of elements in the final operation setjava.util.Collection<Operation>
getOpsSet()
This method returns the collection of elements in the ADD set after those in the REMOVE set have been removed.long
getRemCount()
Retrieve the number of elements in the Remove Setprivate java.util.Collection<Operation>
getRemSet()
This method retrieved the REMOVE set.protected java.lang.String
getSegment()
This is used to create a string representation of the CRDT in support of the toString() methodboolean
isCreated()
This will return true exactly when there is at least one operation with a type of OperationType.CREATE in the list being maintained by the CRDTboolean
isDeleted()
This will return true exactly when there is at least one operation with a type of OperationType.DELETE in the list being maintained by the CRDTboolean
isEmpty()
This method determines the state of the CRDT.boolean
isRead()
This will return true exactly when there is at least one operation with a type of OperationType.READ in the list being maintained by the CRDTboolean
isUpdated()
This will return true exactly when there is at least one operation with a type of OperationType.UPDATE in the list being maintained by the CRDTprotected void
remOperation(Operation op)
Insert an operation to the REMOVE set-
Methods inherited from class com.cyberfront.crdt.AbstractCRDT
getDocument, getDocument, toString
-
-
-
-
Field Detail
-
ADDSET
protected static final java.lang.String ADDSET
Property label for the add set property- See Also:
- Constant Field Values
-
REMSET
protected static final java.lang.String REMSET
Property label for the remove set property- See Also:
- Constant Field Values
-
addSet
private java.util.Collection<Operation> addSet
The ADD set.
-
remSet
private java.util.Collection<Operation> remSet
The REMOVE set.
-
-
Constructor Detail
-
OperationTwoSet
public OperationTwoSet()
Default constructor for the two set instance... no fields are initialized
-
OperationTwoSet
public OperationTwoSet(OperationTwoSet src)
Copy constructor which duplicates the state of the given CRDT instance- Parameters:
src
- Source CRDT to copy
-
-
Method Detail
-
getAddSet
private java.util.Collection<Operation> getAddSet()
This method retrieved the ADD set.- Returns:
- the ADD set
-
getRemSet
private java.util.Collection<Operation> getRemSet()
This method retrieved the REMOVE set.- Returns:
- the REMOVE set
-
copyAddSet
public java.util.Collection<Operation> copyAddSet()
Generate and retrieve a copy of the add set for public consumption- Returns:
- A copy of the add set
-
copyRemSet
public java.util.Collection<Operation> copyRemSet()
Generate and retrieve a copy of the remove set for public consumption- Returns:
- A copy of the remove set
-
getAddCount
public long getAddCount()
Retrieve the number of elements in the Add Set- Returns:
- The number of elements in the Add Set
-
getRemCount
public long getRemCount()
Retrieve the number of elements in the Remove Set- Returns:
- The number of elements in the Remove Set
-
getOperationCount
public long getOperationCount()
Retrieve the number of elements in the final operation set- Returns:
- The number of elements in the Remove Set
-
addOperation
protected void addOperation(Operation op)
Insert an operation to the ADD set- Parameters:
op
- The operation to add to the ADD set
-
remOperation
protected void remOperation(Operation op)
Insert an operation to the REMOVE set- Parameters:
op
- The operation to add to the REMOVE set
-
diff
private static java.util.Collection<Operation> diff(java.util.Collection<Operation> lhs, java.util.Collection<Operation> rhs)
This private static function returns a set resulting from removing all of the elements on the RHS from the set on the LHS- Parameters:
lhs
- The left hand side of the difference operatorrhs
- The right hand side of the difference operator- Returns:
- The set of elements resulting from removing all of the elements in RHS from LHS
-
getOpsSet
public java.util.Collection<Operation> getOpsSet()
This method returns the collection of elements in the ADD set after those in the REMOVE set have been removed.- Returns:
- The operations which are active in this Two Set CRDT
-
clear
public void clear()
This method removes all elements in both the ADD and REMOVE sets, effectively reseting them to empty.
-
isEmpty
public boolean isEmpty()
This method determines the state of the CRDT. If both the ADD and REMOVE sets are empty, then this is empty. Alternatively if the ADD set is s subset of the REMOVE set, this will also result in this indicating that there are no operations, resulting in this being an empty set.- Returns:
- True exactly when the set of active operations is empty
-
doesTypeExist
protected static boolean doesTypeExist(java.util.Collection<Operation> operations, Operation.OperationType type)
Look in a collection of operations to determine if at least one element has the given OperationType- Parameters:
operations
- List of operations to search for the given OperationTypetype
- OperationType to search for in the given collection- Returns:
- True exactly when there is an operation of the given OperationType in the collection of operations; false otherwise
-
isCreated
public boolean isCreated()
Description copied from class:AbstractCRDT
This will return true exactly when there is at least one operation with a type of OperationType.CREATE in the list being maintained by the CRDT- Specified by:
isCreated
in classAbstractCRDT
- Returns:
- Returns true exactly when there is at least one operation with a type of OperationType.CREATE in the list of operations
-
isRead
public boolean isRead()
Description copied from class:AbstractCRDT
This will return true exactly when there is at least one operation with a type of OperationType.READ in the list being maintained by the CRDT- Specified by:
isRead
in classAbstractCRDT
- Returns:
- Returns true exactly when there is at least one operation with a type of OperationType.READ in the list of operations
-
isUpdated
public boolean isUpdated()
Description copied from class:AbstractCRDT
This will return true exactly when there is at least one operation with a type of OperationType.UPDATE in the list being maintained by the CRDT- Specified by:
isUpdated
in classAbstractCRDT
- Returns:
- Returns true exactly when there is at least one operation with a type of OperationType.UPDATE in the list of operations
-
isDeleted
public boolean isDeleted()
Description copied from class:AbstractCRDT
This will return true exactly when there is at least one operation with a type of OperationType.DELETE in the list being maintained by the CRDT- Specified by:
isDeleted
in classAbstractCRDT
- Returns:
- Returns true exactly when there is at least one operation with a type of OperationType.DELETE in the list of operations
-
countOperations
protected static long countOperations(java.util.Collection<Operation> ops, Operation.OperationType opType)
This static method counts the number of NewBaseOperation instances of the type given which are in the collection provided- Parameters:
ops
- Collection of BaseOperations to search for operations of the specified typeopType
- Type to look for in the collection of BaseOperations- Returns:
- Number of NewBaseOperation instances with the given type
-
countCreated
public long countCreated()
Description copied from class:AbstractCRDT
Count the number of CREATE Operation instances are associated with this CRDT- Specified by:
countCreated
in classAbstractCRDT
- Returns:
- Number of CREATE Operation instances associated with this CRDT
-
countRead
public long countRead()
Description copied from class:AbstractCRDT
Count the number of READ Operation instances are associated with this CRDT- Specified by:
countRead
in classAbstractCRDT
- Returns:
- Number of READ Operation instances associated with this CRDT
-
countUpdate
public long countUpdate()
Description copied from class:AbstractCRDT
Count the number of UPDATE Operation instances are associated with this CRDT- Specified by:
countUpdate
in classAbstractCRDT
- Returns:
- Number of UPDATE Operation instances associated with this CRDT
-
countDelete
public long countDelete()
Description copied from class:AbstractCRDT
Count the number of DELETE Operation instances are associated with this CRDT- Specified by:
countDelete
in classAbstractCRDT
- Returns:
- Number of DELETE Operation instances associated with this CRDT
-
getSegment
protected java.lang.String getSegment()
Description copied from class:AbstractCRDT
This is used to create a string representation of the CRDT in support of the toString() method- Overrides:
getSegment
in classAbstractCRDT
- Returns:
- Return the relevant data for the CRDT
-
-


Managing Synonyms
How to create and manage a list of synonyms that can be used for searches. For example, if a users enters the word "Host" into the search box the site will return results for synonymous words such as "SuperUser".
Adding Synonyms
- Navigate to Admin > Advanced Settings > Search Admin - OR - Go to a Search Admin module.
- Select the Synonyms tab.
- Click the Add Synonyms Group button to add a synonym to the list.
- In the Synonyms Tags text box, enter each synonymous word or phrase followed by a comma or by striking the Enter key.
- Click the Save button once all words are entered.
Deleting Synonyms
- Navigate to Admin > Advanced Settings > Search Admin - OR - Go to a Search Admin module.
- Select the Synonyms tab.
- Click the Delete button beside the synonym group to be removed.
Editing Synonyms
- Navigate to Admin > Advanced Settings > Search Admin - OR - Go to a Search Admin module.
- Select the Synonyms tab.
- Click the Edit button beside the required group.
- In the Synonyms Tags text box, add or remove synonymous words.
- Click the Save button to save your changes.


Welcome to your new Armstrong powered website. Thank you for checking out Armstrong.
This placeholder content is being displayed in place of real content because the appropriate data was not found inside your configured database. There are two ways you could fix this:
armstrong load_demo_data
inside your project
which will scrape the last 10 days worth of content from
WikiNews.
We recommend the latter option if you're just starting out with Armstrong and would like to kick the tires.
{% comment %} TODO: Add Where to next? section TODO: Add link to "Getting Started for Developers" once complete TODO: Add link to "Getting Started for Journalists" once complete {% endcomment %}


--- permalink: "/googleba452326517225c6.html" layout: None --- google-site-verification: googleba452326517225c6.html


Formula1 Racing Simulator
automated :
Cars
Circuit_length :
Circuit
damage :
Cars_bot
fuel :
Cars
global_time :
Cars
,
Cars_bot
HasCrashed :
Cars
,
Cars_bot
lap :
Circuit
last_loop_time :
Cars
left_bends :
Circuit
motor_temperature :
Cars
name :
Cars
,
Cars_bot
oil :
Cars
penality :
Cars
,
Cars_bot
position :
Cars
right_bends :
Circuit
speed :
Cars
,
Cars_bot
tyre_pressure :
Cars
tyre_wear :
Cars
wear_anti_locking :
Cars
wear_braking_system :
Cars
wear_carriage :
Cars
wear_column_direction :
Cars
wear_DRS :
Cars
Generated by
1.8.13


PSY (1992) A Film Review Copyright Dragan Antulov 2000
Until recently, police films were supposed to be in the exclusive domain of cinematographies belonging to so-called First World. Ethical dilemmas that make the backbone of police films work only in environments that are supposed to have at least basic framework of democracy, rule of law and human rights. Naturally, East European countries during the Cold War didn't exactly fit such criteria and in their movie policemen in such films appeared only as protagonists in standard crime mysteries. So, we actually had to wait for the Communism to collapse to see East European films to deal with the problems that haunt their law enforcement personnel. One of such films is Polish drama PSY, directed in 1992 by Wladyslaw Pasikowski. The film was one of the most popular films in post-Communist Poland, spawning the sequel made two years later.
PSY is rather unusual police drama because the policemen are anything by ordinary. The protagonist is Franz Mauer (played by Boguslaw Linda), former veteran of Communist Secret Police. In the good old days he and his colleagues used to live like kings - the regime provided them with numerous privileges in exchange for their services. But times have changed and the regime is now made out of people who used to be Mauer's "clients". As a result, former secret police is now downsized and filled with people more suitable for new political masters - Maurer's best friend Olo (played by Marek Kondrat) is thrown out of the force, while Maurer himself is demoted to the regular police. Inability of the old secret policemen to handle new circumstances is revealed when routine car theft bust turns into bloody shootout in which most of Maurer's crew die. Maurer decides to find the responsible and takes help of young and idealistic rookie Nowy (played by Cezary Paura). The investigation leads to the well-organised ring of amphetamine smugglers, led by former secret policeman Gross (played by Janusz Gajdos). Maurer, being back-pedalled by his inimical and corrupt superiors, must not only fight this ring alone, but one of Gross' new recruits is his old friend Olo.
If PSY should be described with one word, that word is "brutal". That brutality is, of course, most visible in the large number of extremely violent scenes and naturalistic quality of said violence which would probably turn off some more sensitive segments of the audience. But the brutality doesn't stop at that level - in the eyes of screenwriter and director Pasikowski, naturalistic violence is just an expression of equally brutal everyday reality of post-Communist Poland. Pasikowski made this film three years after the collapse of Communism, and in that time the newly democratic country looked far away from reaching economic and political standards of Western Europe. The end of socialist economy brought unimaginable poverty to the people, and many were forced to turn to crime in order to survive; that later led to collapse of each and every ethical norm and many Poles were guided in their life by their most primordial and savage instincts.  PSY is actually film without any positive character in usual Hollywood sense and this represents something like a problem for Pasikowski; since Maurer is not very different from the people he must fight, he must be given the girlfriend in order to show his kinder and gentler side. The subplot involving juvenile delinquent Angela (played by Agnieska Jaskolka) is rather routine and therefore needless; Linda and Jaskolka lack chemistry and during the scenes when they are together we can hardly wait for the film to start dealing with the real subject. In the end, the whole idea of making Maurer more humane is compromised in the brief scene that shows his enemy, Gross, as kind and warm family man.
Today, when Poland more or less managed to overcome most of the usual post- Communist difficulties, PSY is not as effective as it was eight years ago. Pasikowski's picture of Poland was simply too grim, and his speculations on near future were not proven to be correct. According to the experiences in most of post-Communist countries, former secret policemen, instead of organising their own all-powerful narco- Mafia, simply changed their masters and former members of Nomenklatura found much easier and less risky way for getting rich during the privatisation of former state-owned companies. Pasikowski was perhaps trying to hint some of those developments in the film, but PSY is simply too short for that. Another problem for this film is in references to the event in Polish Communist past, which are hardly understandable for anyone outside Poland (except perhaps viewers in other post-Communist countries, who can probably recognise similar characters and situations). Because of its brutality and rawness, PSY looks somewhat unrefined, but such flaws are overcome with superb acting and few scenes of black humour (especially visible in the otherwise extremely naturalistic police shootout scene). However, despite being far from perfect, PSY is memorable viewing experience for anyone who can handle it, and therefore it should be recommended for those who like to see how East European filmmakers react to their post-Communist reality.
RATING: 6/10 (++)
Review written on December 26th 2000
Dragan Antulov a.k.a. Drax Fido: 2:381/100 E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>Filmske recenzije na hrvatskom/Movie Reviews in Croatian http://film.purger.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


{% load staticfiles %}
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Go Trek
Signed in as
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{{user.email}}
DeenTrack: {{score}}
Active Since: {{user.date_joined|date:"F d, Y"}}


cvpr cvpr2013 cvpr2013-394 cvpr2013-394-reference knowledge-graph by maker-knowledge-mining
Source: pdf
Author: Lap-Fai Yu, Sai-Kit Yeung, Yu-Wing Tai, Stephen Lin
Abstract: We present a shading-based shape refinement algorithm which uses a noisy, incomplete depth map from Kinect to help resolve ambiguities in shape-from-shading. In our framework, the partial depth information is used to overcome bas-relief ambiguity in normals estimation, as well as to assist in recovering relative albedos, which are needed to reliably estimate the lighting environment and to separate shading from albedo. This refinement of surface normals using a noisy depth map leads to high-quality 3D surfaces. The effectiveness of our algorithm is demonstrated through several challenging real-world examples.
[1] J. T. Barron and J. Malik. Color constancy, intrinsic images, and shape estimation. In ECCV (4), pages 57–70, 2012.
[2] P. N. Belhumeur, D. J. Kriegman, and A. L. Yuille. The basrelief ambiguity. IJCV, 35(1):33–44, Nov. 1999. Figure15.Left:rawpointcloud.Right:pointcloudrefindwith our resultant normals.
[3] J. Dolson, J. Baek, C. Plagemann, and S. Thrun. Upsampling range data in dynamic environments. In CVPR, 2010.
[4] J.-D. Durou, M. Falcone, and M. Sagona. Numerical methods for shape-from-shading: A new survey with benchmarks. CVIU, 109(1):22–43, 2008.
[5] B. V. Funt and G. D. Finlayson. Color Constant Color Indexing. PAMI, 17(5):522–529, May 1995.
[6] B. K. P. Horn and M. J. Brooks. Shape from shading. MIT Press, Cambridge, MA, USA, 1989.
[7] R. Huang and W. A. P. Smith. Shape-from-shading under complex natural illumination. In ICIP, pages 13–16, 2011.
[8] M. K. Johnson and E. H. Adelson. Shape estimation in natural illumination. In CVPR, pages 2553–2560, 2011.
[9] K. J. Lee, Q. Zhao, X. Tong, M. Gong, S. Izadi, S. U. Lee, P. Tan, and S. Lin. Estimation of intrinsic image sequences from image+depth video. In ECCV, pages 327–340, 2012.
[10] Z. Lu, Y.-W. Tai, M. Ben-Ezra, and M. S. Brown. A framework for ultra high resolution 3d imaging. In CVPR, 2010.
[11] S. K. Nayar and R. M. Bolle. Reflectance based object recognition. IJCV, 17(3):219–240, 1996.
[12] G. Oxholm and K. Nishino. Shape and reflectance from natural illumination. In ECCV (1), pages 528–541, 2012.
[13] J. Park, H. Kim, Y.-W. Tai, M. Brown, and I. Kweon. High quality depth map upsampling for 3d-tof cameras. In ICCV, 2011.
[14] J. Pearl. Probabilistic reasoning in intelligent systems: networks of plausible inference. Morgan Kaufmann Publishers Inc., San Francisco, CA, USA, 1988.
[15] P. P ´erez, M. Gangnet, and A. Blake. Poisson image editing. ACM Trans. Graph., 22(3):313–318, July 2003.
[16] R. Ramamoorthi and P. Hanrahan. An efficient representation for irradiance environment maps. In SIGGRAPH, 2001 .
[17] J. Sun, L. Yuan, J. Jia, and H.-Y. Shum. Image completion with structure propagation. ACM Trans. Graph., 24(3), 2005.
[18] R. Woodham. Photometric method for determining surface orientation from multiple images. Opt. Eng., 19(1), 1980.
[19] C. Wu, B. Wilburn, Y. Matsushita, and C. Theobalt. Highquality shape from multi-view stereo and shading under general illumination. In CVPR, pages 969–976, 2011.
[20] Q. Yang, R. Yang, J. Davis, and D. Nister. Spatial-depth super resolution for range images. In CVPR, 2007.
[21] L.-F. Yu, S.-K. Yeung, Y.-W. Tai, D. Terzopoulos, and T. F. Chan. Outdoor photometric stereo. In ICCP, 2013.
[22] R. Zhang, P.-S. Tsai, J. E. Cryer, and M. Shah. Shape from shading: A survey. IEEE PAMI, 21(8):690–706, 1999.<PHONE_NUMBER>2222202200


|
goog.dom.annotate.NONWORD_RE_()
Regular expression that matches non-word characters.
Performance note: Testing a one-character string using this regex is as fast
as the equivalent string test ("a-zA-Z0-9_".indexOf(c) < 0), give or take a
few percent. (The regex is about 5% faster in IE 6 and about 4% slower in
Firefox 1.5.) If performance becomes critical, it may be better to convert
the character to a numerical char code and check whether it falls in the
word character ranges. A quick test suggests that could be 33% faster.
|
code » | ||||||||
|
goog.dom.annotate.annotateTerms(node, terms, annotateFn, opt_ignoreCase, opt_classesToSkip, opt_maxMs)
⇒
Calls
annotateFn for each occurrence of a search term in text nodes
under node . Returns the number of hits.
Arguments:
Returns:
Whether any terms were annotated.
|
code » | ||||||||
|
goog.dom.annotate.annotateTermsInNode_(node, terms, annotateFn, ignoreCase, classesToSkip, stopTime, recursionLevel)
⇒
Recursive helper function.
Arguments:
Returns:
Whether any terms were annotated.
|
code » | ||||||||
|
Annotates occurrences of query terms in plain text. This process consists of
identifying all occurrences of all query terms, calling a provided function
to get the appropriate replacement HTML for each occurrence, and
HTML-escaping all the text.
Arguments:
Returns:
The HTML equivalent of
text with terms annotated, or null if the text did not contain any of the terms.
|
code » | ||||||||
|
Annotates occurrences of query terms in plain text. This process consists of
identifying all occurrences of all query terms, calling a provided function
to get the appropriate replacement HTML for each occurrence, and
HTML-escaping all the text.
Arguments:
Returns:
The HTML equivalent of
text with terms annotated, or null if the text did not contain any of the terms.
|
code » | ||||||||
|
Converts terms to lowercase.
|
code » |


Defence calls no evidence
by The Canadian PressThe defence lawyer for a man accused in the stabbing death of a 13-year-old girl in Abbotsford says no evidence will be called in his defence.
The move surprised Crown prosecutors and drew murmurs from the court gallery.
Twenty-four-year-old Gabriel Klein, who has pleaded not guilty to second-degree murder and aggravated assault, occasionally looked up at the ceiling, down at the floor and back into the gallery from the prisoner's box.
"We won't be calling any evidence," his lawyer, Martin Peters said Monday, in place of the opening argument he was expected to deliver. "The defence case is now closed."
Letisha Reimer was killed in the attack and another girl whose identity is protected by a publication ban was injured.
The court had previously heard that Klein's defence would be that he is not criminally responsible for the attack because of a mental disorder.
Klein was held in a forensic psychiatric hospital following the stabbings until he was found mentally fit to stand trial earlier this year.
Crown attorney Rob Macgowan said the prosecution was not expecting to begin final arguments Monday and would need more time to prepare.
"Certainly, this comes as somewhat of a surprise to the Crown," he said before the court took a break so the legal teams could discuss possible dates to reconvene.
Closing arguments have now been scheduled to begin Dec. 16. Although two more weeks had been set aside for the trial, Macgowan said arguments should wrap up within three days, "given that the issues in the case have obviously been narrowed significantly."
The trial is being heard by judge alone.
Klein is accused of walking through a public library connected with the Abbotsford Senior Secondary School library and stabbing the girls on Nov. 1, 2016.
The trial has heard that an Abbotsford shelter provided Klein with a map to the library so he could email his mother.


Meet the Super Animals, brought to you by Pick n Pay! Keep track of your Super Animals cards, unlock badges and earn rewards as your collection grows. Plus, watch the animals come to life with movement and sound – look out for the ultra-cute Big Five! Fun for animal-lovers of any age.
You’ll receive 4 Super Animals cards with every R150 spent at Pick n Pay.
Scan the side of the card where you see the photo of the animal to add it your collection.
Collect all the animals in the 9 categories – Fastest, Fiercest, Showiest, Deadliest, Loudest, Smartest, Sneakiest, Toughest and Weirdest!
Watch the animals come to life! Pet the Big 5 and see them stomp, wriggle and waggle.
Earn badges as you collect and unlock surprise rewards on your way to becoming a Chief Ranger.
Take selfies with your favourite Super Animals and share them on social media.
Know your Armadillo from your Orangutan? Learn more about each animal with fascinating facts.


detector_mtcnn module¶
-
class
detector_mtcnn.
FaceDetectorMTCNN
¶ Bases:
detectors.detector_base.FaceDetector
FaceDetcorMtCNN uses mtcnn to detect faces in images implement FaceDetector
-
isloaded
¶ True if the model is loaded and false otherwise
- Type
bool
-
pnet
¶ the tensor that repesent the pnet architicture
- Type
tensors
-
rnet
¶ the tensor that repesent the pnet architicture
- Type
tensors
-
onet
¶ the tensor that repesent the pnet architicture
- Type
tensors
-
minsize
¶ the minimum size of detected faces
- Type
int
-
threshold
¶ the float values to use in filtering the faces smaller values means smaller confidance
- Type
list
-
facetor
¶ the scaling factor of the face
- Type
float
-
NAME
= 'detector_mtcnn'¶
-
clean
()¶ clean the loaded model
-
configure
(minsize, threshold, factor)¶ set the configuration of mtcnn model
- Parameters
minsize (int) – the minimum size of detected faces
threshold (list) – the float values to use in filtering the faces smaller values means smaller confidance
facetor (float) – the scaling factor of the face
-
detect
(img, clean=False)¶ perform mtcnn face detection in image
- Parameters
img (numpy Array) – the image to detect
clean (boolean) – flag to indicate if you wish to clean the loaded model and configuration or not
- Returns :
boxes (numpy array) : the bounding boxes of the faces in the image of shape (n,x,y,w,h,convidance) points (numpy array) : the coordinations of the face feature points of shape (n,2,5)
-
load
()¶ load the wights of mtcnn model to prepare for use
- Returns
True if the model was loaded successfully and False elsewise
-
name
()¶ returns the name of the model
-
parse_output
(boxes, points)¶ helper function to parse ouput of the detector to fit in the pipline
- Parameters
boxes (numpy array) – the faces bounding boxes of the image
points (numpy array) – the coordinations of the face feature points
- Returns
the faces bounding boxes of the image in shape (n,x,y,w,h,confidance) points (numpy array) : the coordinations of the face feature points in shape (n,2,5)
- Return type
boxes (numpy array)
-


Fox suspends Marco van Basten one week for saying 'sieg heil' on air
by ESPNRetired Netherlands football star Marco van Basten has been benched for a week by Fox Sports for saying "sieg heil" on air.
Van Basten, working as an analyst, was off camera on Saturday when he used the German phrase for "hail victory" that became notorious for its use at Nazi rallies.
Van Basten, who made the comment after a German coach had been interviewed by a reporter, apologised later in the show saying he had "not intended to shock people."
Fox Sports said in a statement on Monday that it distanced itself from the comment, which the broadcaster called "stupid and inappropriate" and said it will not use Van Basten as an analyst this week and will donate his fee to a Dutch institute to promote knowledge about World War II.
The comments came on a weekend in which teams across the Netherlands had agreed to take part in anti-racism protests after Excelsior player Ahmad Mendes Moreira was subjected to racist abuse by Den Bosch supporters during last Sunday's Eerste Divisie -- Dutch second flight -- match.
Van Basten was a striker for Ajax and AC Milan and was one of the stars of the Netherlands team that won the European Championship in 1988.
After his playing career, he coached the Netherlands and other teams and was a senior official at FIFA.
Information from the Associated Press was used in this story.


--- layout: post status: publish published: true title: Enabling Font Smoothing on NetBeans author: display_name: Tomas Restrepo login: tomasr email<EMAIL_ADDRESS>url: http://winterdom.com/ author_login: tomasr author_email<EMAIL_ADDRESS>author_url: http://winterdom.com/ wordpress_id: 14 wordpress_url: http://winterdom.com/2008/05/enablingfontsmoothingonnetbeans date: '2008-05-26 05:29:42 +0000' date_gmt: '2008-05-26 05:29:42 +0000' categories: - Tools - Java tags: [] comments: - id: 18 author: kholis author_email<EMAIL_ADDRESS>author_url: http://blog.its.ac.id/kholis date: '2008-06-16 18:37:26 +0000' date_gmt: '2008-06-16 18:37:26 +0000' content: | thanks, my font looks better now... - id: 1768 author: Mrigess author_email<EMAIL_ADDRESS>author_url: '' date: '2011-08-17 07:19:34 +0000' date_gmt: '2011-08-17 07:19:34 +0000' content: not working for me.. I am using netbeans 7.0.1 in ubuntu 11.04 and there aint no advanced button in bottom left! any idea felllas!!! It has got java 1.6 i guess.. thanks in advance. ---
I've been working on some Java stuff lately and instead of using Eclipse as I usually do, I started working with NetBeans 6.1. It works reasonably well (much more than I expected).
However, I run into one really annoying issue: NetBeans looked great on my Ubuntu box; but when I tried running it in my Windows machine, it looked like crap. More specifically, fonts on the text editor surface were rendered without anti-aliasing so they looked horribly wrong.
I remembered then that NetBeans is a Swing app, which, until fairly recently, didn't even support using the platform's built-in sub-pixel rendering technologies (like ClearType on windows). On Java 1.5 (which I was using), however, it should support at least it's own smoothing mechanisms and those were not getting used at all on Windows.
A few searches on google turned up lots of people complaining about it and a few people saying it could be enabled (or would be fixed on Java 1.6) but no clear hints as to where to locate the actual option.
After looking for a while finally figured out: You can enable font smoothing by going to the Tools -> Options dialog, then clicking on the Advanced Options button on the bottom left, and then selecting the Editor Settings category in the new dialog. There you'll find the elusive "Text Antialiasing" option.
I'm not sure why this was enabled by default on Linux but not on Windows, but, anyway, enabling it makes all the difference in the world.
One more thing to keep in mind: The way java renders fonts is a bit weird as well. I'm using DejaVu Sans Mono for the font and I need to use size 20 on NetBeans to get it to look around the same size of the size 15 I use on Vim (both on Windows and Linux).


This project will be a professional portfolio website demonstrating the value I could add to any organization. It will showcase my best graphic design/multimedia projects, focusing on my skills in front-end web development. It will call out my qualifications and experience to help highlight myself as a potential candidate for any employer.
My site is designed with a professional audience in mind; it is targeted toward individuals within the web development, multimedia, I.T., and cleared community. My target audience includes recruiters, hiring managers, start-ups founders, peers, and collaborators.
My main goal for users of the site is to initiate contact with me via the contact form or other associated profile links about employment or collaboration on interesting projects that could impact or inspire growth through the connection. My site will be a living digital repository of my best work and demonstrate my values as a professional. While earning an income is necessary to live, I am willing to take on opportunities worth doing if it is innovative, challenging(fun), and helps others.
Dillon Wynot
Dillon is a technical recruiter for a government contracting company. He finds talent with specialized skills to fulfill critical roles in IT and media that provide support to their government clients and partners such as the DoD, DoJ, DIA and DoS. The need to fill these roles is especially important to maintain current contracts and sustain their reputation in providing world-class support.
Dillon is power user. He is well versed in all the productivity software to help maintain his schedule and stay on task. He conducts virtual meetings and interviews regularly. He generally relies on a MacBook Air during travel due to its long body life but uses a professional PC setup at the office where he does most of his work.
Dillon is educated and a business savvy professional, he has plenty of pressure and incentive to perform well at his Job. Finding quality reliable talent is becoming increasingly difficult and he does not have time to waste. He needs a quick a way to assess whether potential candidates have the skills and aptitude to recommend them for further consideration or hire.
Dillon is having a having difficult time finding enough talent to fill available government contracting roles. Many of his clients are requesting candidates with a varied number of skills so they can get the most with the money the salary they pay. Additionally, the roles needed are within agencies that handle sensitive information and need candidates with active clearances, so they fill the roles and on board as quickly as possible.
Dillon is trying to throw a wide net and looking for talented cleared individuals on several sites to include Clearance Jobs and LinkedIn. Once he initiates contact with his pool of candidates, he needs a quick way to validate whether the candidate should be recommended for further consideration or hire.
As a recruiter, I need a quick way to see if a candidate has the skill and qualifications to assess further and initiate contact.
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Value object representing an edge Definition.
An edge definition contains a collection called 'relation' to store the edges and
multiple vertices collection defined in 'fromCollections' and 'toCollections'.
Methods
Constructs an new edge definition
__construct(string $relation = null
, array|string $fromCollections = array()
, array|string $toCollections = array()
)
Parameters
$relation
string
- name of the relation (the underlying edge collection).
$fromCollections
array
string
- a list of collections providing the edges start vertices or a string holding a single collection name.
$toCollections
array
string
- a list of collections providing the edges end vertices or a string holding a single collection name.
Add a 'from' collections of the graph.
addFromCollection(string $fromCollection)
Parameters
$fromCollection
string
- the name of the added collection.
Add a 'to' collections of the graph.
addToCollection(string $toCollection)
Parameters
$toCollection
string
- the name of the added collection.
Resets the 'from' collections of the graph.
clearFromCollection()
Resets the 'to' collections of the graph.
clearToCollection()
Constructs a directed relation. This relation is an edge definition where the edges can start only in the
vertices defined in 'fromCollections' and end in vertices defined in 'toCollections'.
createDirectedRelation(string $relation, array|string $fromCollections, array|string $toCollections) : \ArangoDBClient\EdgeDefinition
Static
Parameters
$relation
string
- name of the relation (the underlying edge collection).
$fromCollections
array
string
- a list of collections providing the edges start vertices or a string holding a single collection name.
$toCollections
array
string
- a list of collections providing the edges end vertices or a string holding a single collection name.
Returns
\ArangoDBClient\EdgeDefinition
Constructs an undirected relation. This relation is an edge definition where the edges can start and end
in any vertex from the collection list.
createUndirectedRelation(string $relation, array $vertexCollections) : \ArangoDBClient\EdgeDefinition
Static
Parameters
$relation
string
- name of the relation (the underlying edge collection).
$vertexCollections
array
- a list of collections providing the edges start and end vertices.
Returns
\ArangoDBClient\EdgeDefinition
Get the 'from' collections of the graph.
getFromCollections() : array
Get the relation of the edge definition.
getRelation() : string
Get the 'to' collections of the graph.
getToCollections() : array
Set the relation of the edge definition
setRelation(string $relation)
Parameters
$relation
string
- the name of the relation.
Properties
An array containing the names of the vertices collections holding the start vertices.
$_fromCollections : array
The name of the edge collection for this relation.
$_relation : string
An array containing the names of the vertices collections holding the end vertices.
$_toCollections : array


Everything melts away.
Named for the fleet-footed Roman messenger god, Mercury is the closest planet to the sun, zipping around our parent star at an average of 36 million miles away. However, Mercury’s orbit is not a perfect circle. The planet can pass as close as 29 million miles and as far away as 43 million miles.
Living up to its name, Mercury is the fastest planet in the solar system, speeding along at about 29 miles per second and completing each orbit around the sun in just 88 Earth days. Mercury is also the smallest planet in the solar system, measuring just 3,032 miles wide at its equator. That makes it only slightly larger than Earth’s moon.
Because Mercury is so small and so close to the sun, it is the most elusive of the five planets that are visible to the naked eye. You can only catch Mercury at dawn and dusk, and it usually does not rise far above the horizon. But that’s not the only time the tiny planet makes an FLAG{h1_th3rE}. Because of its position in the solar system, Mercury passes between Earth and the sun 13 times each century in an event known as a transit. During a transit of Mercury, observers on Earth can see the planet in silhouette as it seems to sweep across the sun’s disk.
Since ancient times, people observing the heavens have noticed that the naked-eye planets sometimes appear to move backward, briefly shifting from their usual eastward motion to a westward path across the sky. This retrograde motion is an illusion created when one planet moves faster in its orbit than another, so that it catches up to and passes the slower world. For observers on Earth, Mercury is in retrograde about three to four times a year.
If you could watch the skies from the surface of Mercury, you would sometimes catch the rare sight of the sun in retrograde. As Mercury makes its closest approach to our smoldering star, its orbital speed exceeds its rate of rotation on its axis. That means someone standing on Mercury would see the sun start to rise, then briefly set, then rise again all within the same day.


Best practices for classes and ID'sl
When and which one to use
05/31/15
Use class for multiple items with same formatting and id for one unique item on page with its own settings.
Use the class and id inside proper type HTML tags rather than div tags (eg: vs )
Remember the priority of selectors increases like so: type -> class -> id
Be mindful of use of space in selectors (or the lack of thereof)


Midnight in the Garden of Good and Evil (R) *** (out of ****)
After spending three years on the bestseller list, John Berendt's Midnight and the Garden of Good and Evil has been brought to the screen by Clint Eastwood in a film that is not likely to stay too long at the top of the box office charts--provided it even gets there at all. While Midnight is, in the end, an intriguing and handsome production, watching this very long, leisurely paced film is like reading a book--not necessarily a bad thing, but not exactly what one is in the mood for when watching a film.
At its core, the fact-based Midnight is a courtroom drama, documenting the 1981 trial of Jim Williams (Kevin Spacey), a wealthy Savannah antiques dealer charged with the murder of Billy Hanson (Jude Law), one of the help at Jim's estate and his sometime lover. Writing a book on this sensational case--and investigating the truth behind the fateful night--is John Kelso (John Cusack, playing a fictional stand-in for Berendt), a New York writer originally sent down to Savannah to write a Town and Country magazine article on Jim's swanky annual Christmas party.
The plot, however, appears to be of little concern to Eastwood and screenwriter John Lee Hancock, who, in trying to capture the feel of Berendt's book, are more interested in the colorful array of characters John encounters through his research and investigation. Among those he gets involved with are Jim's smooth talking attorney, Sonny Seiler (Jack Thompson); Joe Odom (Paul Hipp), an ex-lawyer who dreams of opening a piano bar; Mandy Nichols (Alison Eastwood, Clint's daughter), a free-spirited flower shop worker in whom John develops a romantic interest; Minerva (Irma P. Hall), a voodoo priestess who aids Jim's case; and, most notably, The Lady Chablis (played by him/herself), a flamboyant transvestite who lived with one of Billy's lovers. Yet while these are all interesting people who together make up a varied cross section of the Savannah population, most have little more than a tangential connection to the main proceedings, serving to further bloat the running time, which, as it stands, clocks in at over two and a half hours. The presence of a large, novelesque canvas of characters is commendable, but Hancock cannot quite make it work because, interesting as they are, they are not given much to do that is of equal interest; the background players' main duty is to react to Jim's crime and subsequent trial. An exception to this would be Minerva, but even this voodoo angle, which comes to play a major role, is not incorporated into the story in the smoothest of manners, popping up out of nowhere midway (to lend the film its title) only to resurface at center stage in the final act.
Eastwood-directed films are known for their slow pace, and Midnight is no exception. Any slowly-paced film runs the risk of losing its audience's attention, but Midnight does not, thanks to an engrossing plot hook and the polished work by cinematographer Jack N. Green, production designer Henry Bumstead, and the acting ensemble, which is strong across the board. Spacey, not surprisingly, does a finely modulated job, managing to make Jim sympathetic without diluting any of his unsavory nature; he just may have nailed his second Oscar nod for the year (the first would be for his superb supporting work in L.A. Confidential). But as good as he and Cusack are, the movie is stolen from right under them and all else involved in the picture by The Lady Chablis. True, he/she is playing him/herself, but he/she does it with such brash, go-for-broke insouciance that everything take a backseat to him/her whenever he/she is onscreen. A Supporting Actor nod should be in his/her future, but given the notoriously conservative tastes of the notoriously conservative Academy, that can be safely ruled out.
Midnight in the Garden of Good and Evil did keep me engaged all through its lengthy running time but perhaps not in the way it should have. As a film, Midnight is a good _read_, paced slowly to accommodate thorough exploration and digestion of the little details that are interesting if not particularly important. However, a bit more tightening and focus would have made the thoughtful and literate Midnight a better _watch_.
Michael Dequina<EMAIL_ADDRESS>|<EMAIL_ADDRESS>|<EMAIL_ADDRESS><EMAIL_ADDRESS>|<EMAIL_ADDRESS><EMAIL_ADDRESS>|<EMAIL_ADDRESS>|<EMAIL_ADDRESS>Visit Mr. Brown's Movie Site at http://members.tripod.com/~MrBrown/ Personal Page: http://members.tripod.com/~MrBrown/home.html Michael Jordan Beyond the Court: http://www.geocities.com/Colosseum/Field/2302/ A Michael Jordan Fan's Heartbreak: http://members.tripod.com/~mj23/mj.html
"I can accept failure. Everyone fails at something. But I can't accept not trying. It doesn't matter if you win as long as you give everything in your heart." --Michael Jordan
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THE MAKER BUS
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